Nalanda, the greatest centre of learning in ancient India.
Here is Huili, the chela & biographer of the 7th century Chinese monk Xuanzang on Nalanda at its peak: "“Six kings built as many monasteries around the site, one after the other & an enclosure was made with bricks to merge them all into one monastery with one common entrance...
"There were separate courtyards, divided into eight departments. Precious terraces ranged like stars in the sky and jade storeyed pavilions spired like lofty peaks. The temples stood high in the mist, and the shrines hovered over the rosy clouds....
"Breeze and fog rose from the doors and windows and the sun and moon shone alternately at the eves of the building. Moreover, brooks of clear water meandered the compounds with blue lotuses and water lillies growing inside them.
"The flowers of sandalwood trees glowed inside the enclosure, and outside it there was a dense mango orchard. All the monks’ chambers in the different departments had four storeys....
"The ridgepoles were carved with little dragons, the beams were painted all the colours of the rainbow, and green struts contrasted with the crimson pillars. The frontal columns and railings had ornamental engravings and hollowed-out carvings.
"The plinths were made of jade & the tips of the rafters were adorned with drawings. The ridges of the roofs stood high in the sunlight & the eves were connected with ropes from which hung coloured silk pendants.
In India there were thousands of monasteries, but this was the most magnificent and sublime of them all."
Here ten thousand monks studied the different schools of Buddhism, as well as the Vedas, logic, grammar, philosophy, medicine, metaphysics, divination, mathematics, Sanskrit, astronomy,literature and magic.
The biggest draw of all was in the centre of the complex, the Nalanda library. According to the later Tibetan monk Taranatha, the Nalanda sutra depository—quite possibly the greatest library in the world after the destruction of Alexandria-- was named the Dharmaganja.
It was nine storeys high and contained three divisions: the Ratnodadhi, the Sea of Jewels, the Ratnasagara, the Ocean of Jewels, and the Ratnaranjaka, the Jewel-Adorned.
“The priests, to the number of several thousands, are men of the highest ability and talent,” wrote Xuanzang. “Their distinction is very great at the present time. The day is not sufficient for asking and answering profound questions.
"From morning until night they engage in discussions; the old & young mutually help each other.” Lectures were given in a hundred different halls each day “and the students studied diligently without wasting a moment. The atmosphere of the monastery was solemn and dignified.”
Many students and teachers had come from far away to study in the greatest centre of learning of its day. As well as China, we know the names of monks who came to Nalanda from Nepal, Tibet, Sri Lanka, Sumatra and even Korea.
A little after Xuanzang one entire monastery-college was built & endowed by the passionately Buddhist ‘Lords of the Mountains,’ the Sailendra rajas of far-distant Indonesia, who were probably also responsible for building the largest Buddhist temple ever built, Borobodur in Java
One later Chinese pilgrim talks of a Chinese college at the monastery. It was probably the influence of Nalanda that has resulted in inscriptions carved in the Siddhamatrika, a northeastern Indian script native to the area of Nalanda, turning up as far away as China and Japan.
One scholar has gone as far as suggesting that Nalanda “was the cultural centre that dictated the predominant religious & aesthetic paradigm across the entire Buddhist cosmopolis from the 8th- 13th century.” It also played a major role in transmitting esoteric Buddhism to Tibet.
Faces of Nalanda- small terracotta images found during the excavations at the Nalanda mahavihara, now on display in the spectacular new @BiharMuseum in Patna
The Towers of Nalanda: possibly the earliest image of what Nalanda originally looked like in the early Gupta period, c5thC, with high, possibly wooden towers flanked by a river, water meadows and flowering trees. Terracotta seal from Nalanda, in the spectacular new @BiharMuseum
@andy142sbbj Contemporaries describe it as a Mahavihara- a Buddhist monastery with a scholarly bent, not a University in our modern sense.
Since posting this picture, I have learned that many scholars consider it to be the earliest image not of Nalanda but of the Mahabodhi temple in Bodh Gaya- which is clearly resembles
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ZEBRAS & ZODIACS:
JAHANGIR & THE MUGHAL ART REVOLUTION
The Emperor Jahangir was a true connoisseur of beauty. His reign witnessed a flourishing of art, particularly through his patronage of workshops of brilliant artists who between them created a series of extraordinary masterpieces.
The reigns of Jahangir saw the artistic highpoint of the Mughal atelier, and with it the moment of greatest celebrity for the masters at court. Jahangir awarded his two master artists, the brilliant animal painter Mansur and his rival Abu’l Hasan, the titles Nadir al-Zaman, ‘Wonder of the Age,’ and Nadir al-Zaman, “Wonder of the Times.”
Abu’l Hasan seems to have been a particular favourite of Jahangir. “I have always considered it my duty to give him much patronage,” wrote the Emperor in his own autobiography, the Jahangirnama, “and from his youth until now I have patronised him so that his work has reached the level it has.”
The oldest surviving sculptures of the Buddha in Southeast Asia. Found at Oc Eo, now on the Vietnamese side of the Mekong Delta, and the presumed site of one the very first Indic-influenced courts in the region, known to the Chinese as Funan.
The Chinese called this city state Funan – the Indians, Vyadhapura. We do not know what it was called by its own inhabitants. A Chinese court envoy who came to Funan in the third century ce left the first eyewitness portrait of this nascent trading world. ‘This place is famous for precious rarities from afar,’ wrote the Chinese Xue Zong in the third century ce: ‘pearls, incense, elephant tusks, rhinoceros’ horn, tortoise shell, coral, lapis lazuli, parrots, kingfishers, peacocks, rare and abundant treasures enough to satisfy all desires.’
To 21stC eyes, the tall waterlogged wooden Buddhas found at the site are astonishingly beautiful- like Giacometti's Walking Man, and even more than that, the Etruscan bronze know as The Shadow of the Evening which inspired some of his best work
To close 2024 @tweeter_anita & I look at the chaotic first attempts of the English crown to open diplomatic relations with Mughal India
THE ROOTS OF THE RAJ-
Sir Thomas Roe at the Court of Jahangir
The East India Company realised that if it was to trade successfully with the Mughals, it would need both partners and permissions. This meant establishing a relationship with the Mughal Emperor himself.
The man chosen was a courtier, MP, diplomat, Amazon explorer, Ambassador to the Sublime Porte and self-described ‘man of quality’, Sir Thomas Roe.
"The Nabateans are a silent partner in everything that goes on in the high summer of the Ancient period” - Bettany Hughes
By the time of Jesus’ birth, a mysterious empire had built its wealth through trading two of the gifts present at the Nativity: frankincense and myrrh.
Aromatic crystals harvested from the sap of gnarled trees, frankincense and myrrh were highly desirable commodities known as the tears or the breath of the gods.
We are proud to present the first episode of our Christmas mini-series-
WHO WERE THE THREE WISE MEN?
Featured in every Nativity scene in school plays, churches, and art around the world, the Three Wise Men are key characters in the Christmas story. But they are actually only mentioned once in the Bible, appearing in Matthew’s gospel. He describes them not as Kings, not as generalised Wise Men, but specifically as Magi.
So what exactly did he mean by that?
The word ‘magi’, derives from the Old Persian ‘magus’, and specifically refers to the Zoroastrian Persian high priesthood, who were renowned throughout the Middle East for their knowledge of the stars and for their expertise in astrology.
The name title stood out in the gospel for being one of the only words in Persian. It is also the root of the English word 'magic' for which the Magi were renowned.
"Early in his reign, Akbar had made it clear that he had no time for ultra-Orthodox Muslim opinion which objected the depiction of the human form: “There are many that hate painting,” he wrote, but such men I dislike. It appears to me as if a painter had a quite peculiar means of recognising God; for a painter in sketching anything that has life, and in devising its limbs, one after the other, must come to feel that he cannot bestow individuality upon his work, and is thus forced to think of God, the giver of life."
As a child, Akbar was dislexic: no one was able to teach him how to read. But he still loved literature - the Indian and Persian epics and Ferdowsi poetry and were read to him by travelling picture showmen and discussed in detail. This seems to have inspired his love of visual arts: ‘one of the biggest paradoxes of art history: the prolific production of illustrated manuscripts was initiated by a man who could not read them himself’.
Akbar began the tradition by which the Mughals, perhaps more than any other Islamic dynasty, made their love of the arts and their aesthetic principles a central part of their identity as rulers.
They consciously used jewellery and jewelled objects as they used their architecture, art, poetry, historiography and the dazzling brilliance of their court ceremonial – to make visible and manifest their imperial ideal, to give it a properly imperial splendour, and even a sheen of divine legitimacy. As Abu’l Fazl put it, ‘Kings are fond of external splendour, because they consider it an image of the Divine glory.’